The capitalist market, progressives bemoan, is a cold monster: it disrupts social bonds, erodes emotional attachments, and imposes an abstract utilitarian rationality. But what if such hallowed critiques are completely misleading? This book argues that the production of new sources of faith and enchantment is crucial to the dynamics of the capitalist economy. Distinctively secular patterns of attraction and attachment give modern institutions a binding force that was not available to more traditional forms of rule. Elaborating his alternative approach through an engagement with the semiotics of money and the genealogy of economy, Martijn Konings uncovers capitalism's emotional and theological content in order to understand the paradoxical sources of cohesion and legitimacy that it commands. In developing this perspective, he draws on pragmatist thought to rework and revitalize the Marxist critique of capitalism.

Critics of capitalist finance tend to focus on its speculative character. Our financial markets, they lament, encourage irresponsible bets on the future that reflect no real underlying value. Why is it, then, that opportunities for speculative investment continue to proliferate in the wake of major economic crises? To make sense of this, Capital and Time advances an understanding of economy as a process whereby patterns of order emerge out of the interaction of speculative investments. Progressive critics have assumed that the state occupies a neutral, external position from which it can step in to constrain speculative behaviors. On the contrary, Martijn Konings argues, the state has always been deeply implicated in the speculative dynamics of economic life. Through these insights, he offers a new interpretation of both the economic problems that emerged during the 1970s and the way that neoliberalism responded to them. Neoliberalism's strength derives from its intuition that there is no position that transcends the secular logic of risk, and from its insistence that individuals actively engage that logic. Not only is the critique of speculation misleading as a general approach; it is also incapable of recognizing how American capitalism has come to embrace speculation and has thus been able to generate new kinds of order and governance.

The proletariat never existed—but it had a profound effect on modern German culture and society. As the most radicalized part of the industrial working class, the proletariat embodied the critique of capitalism and the promise of socialism. But as a collective imaginary, the proletariat also inspired the fantasies, desires, and attachments necessary for transforming the working class into a historical subject and an emotional community. This book reconstructs this complicated and contradictory process through the countless treatises, essays, memoirs, novels, poems, songs, plays, paintings, photographs, and films produced in the name of the proletariat. The Proletarian Dream reads these forgotten archives as part of an elusive collective imaginary that modeled what it meant—and even more important, how it felt—to claim the name "proletarian" with pride, hope, and conviction. By emphasizing the formative role of the aesthetic, the eighteen case studies offer a new perspective on working-class culture as a oppositional culture. Such a new perspective is bound to shed new light on the politics of emotion during the main years of working-class mobilizations and as part of more recent populist movements and cultures of resentment. Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures 2018

In The Corporation, Law and Capitalism, Baars offers a radical Marxist perspective on law, tracing the corporation from colonial times to the present multinational. ‘Corporate accountability’ is shown to be a red herring in the struggle for another world.

The failure of secular modernity to deliver on its promise of progress and enlightenment leaves a void that religion is rushing to fill. Yet what kind of religious thinking and doing can be adequate to our posthuman condition? And how can we avoid either embracing religious fundamentalism and fantasy or remaining mired in hopeless atheistic nihilism? In Unnatural Theology Charlie Gere provides ways of thinking about the possibilities of religion and theology in the context of our highly technologized postmodernity. Taking its cue from a wide range of thinkers, from John Ruskin and Alfred North Whitehead, to Jacques Derrida, Judith Butler, Giorgio Agamben, Simon Critchley, Catherine Keller, Bruno Latour, and Timothy Morton, and artists such as Marcel Duchamp and Richard Hamilton, and films including The Incredible Shrinking Man, the book seeks the remnants of theology and religion in the realms of technology and media, and also art, as the basis of potential new religious thinking. Through an interdisciplinary engagement with these thinkers and artists it develops the notion of an unnatural theology as the basis of a new kind of religious thought that does not insult our intelligence.

The term “Crisis of Representation” rose to fame through Michel Foucault. The crisis, in the context of this issue, has not only a political and economic dimension, but a cultural, aesthetic and religious one as well. Thus, a serious inquiry into this complex and multidimensional phenomenon requires an interdisciplinary approach. The issue targets the phenomena at hand through 15 contributions – all with unique and innovative approaches to the topic. One common aim that holds the issue together is the analysis of the nature of the crisis, which helps to find suitable theoretical frameworks. On the other hand, the term itself functions as a tool that enables the analysis of specific societal developments. Contributing authors brought with them expertise from their respective fields including philosophy, political sciences, theology, Islamic studies and religious studies. This allowed for a cross-disciplinary approach on the phenomenon with special foci on politics, religions, societies and finance, as well as theoretical developments on current philosophical and post-colonial discourses.

In The Worldly Philosophers, Robert Heilbroner set out to describe what the great economists thought would happen to the system of capitalism. In later books. Professor Heilbroner projected his own views about the future of the capitalist system. Now he asks a still more demanding question: What is capitalism? In search of an answer, The Nature and Logic of Capitalism takes us on a far-ranging exploration to the unconscious levels of the human psyche and the roots of domination and submission; to the organization of primitive society and the origins of wealth; to the sources of profit and the conception of a "regime" of capital; to the interplay of relatively slow-changing institutions and the powerful force of the accumulation of wealth. By the end of this tour we have grappled not only with ideas of Adam Smith and Karl Marx but with Freud and modern anthropologists as well. And we are far closer to understanding capitalism in our time, its possibilities and limits.

The twentieth century has been called the century of propaganda. This book explores the concept of propaganda in a genuinely multi-disciplinary way. It begins by defining what propaganda is and how it came into existence, before analysing the three concepts that underpin all propaganda - symbolism, rhetoric and myth. The book then looks at the key elements of propaganda, namely emotion, hyperbole, manipulation and utopla, before presenting a unique theory that the core of propoganda lies in a basic social construction of enmity. Points made in the book are backed up by illuminating case studies from recent history that focus on spin, the war in Afghanistan, single-issue groups, negative advertising, and a powerful final chapter analysing the war in Iraq in 2003.

Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy." 100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.